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Ailyn Morera Ugalde
Ailyn Morera (born July 25, 1965), full name is Ailyn Morera Ugalde, is a Costa Rican performing artist who has extensive professional experience working as a playwright, screenwriter, theatrical director, as an actress, and as a storyteller. She is well known in Costa Rica for her work and feminist activism through the the theatrical arts. She has been particularly recognized for advocating in women’s rights and praising the importance in the feminine perspective and feminine artistry. Her work focuses on including gender perspectives that tend to intersect with one another in order to transcend from the typical one sided male perspective. By utilizing her drive to advocate for the female population of Costa Rica, Ailyn offers a peculiar theatrical methodology unique to her where she often employs satirical concepts to analyze and go deeper within gendered perspectives. Because of her deep interest in gender studies Ailyn pursued higher education in order to become a professional in her field acquiring the necessary skills and tools to have an impactful role in society. Ailyn acquired a masters degree in Central American Culture Studies focused on writings and literature from “La Universidad Nacional de Costa Rica”, the National University of Costa Rica. To this day, Ailyn currently works as a playwriting and screenwriting professor at the Theatrical Arts branch of the National University of Costa Rica.

Early life
Ailyn Morera Uglade was born in Heredia, Costa Rica. Daughter to a young adolescent countrywoman, she had no real connection to her paternal roots since she and her mother were abandoned by her father upon knowledge of her mother’s pregnancy with her. During her childhood days she and her mother struggled with finances so among the things she did as a child were playing outside and using her imagination as a form to entertain herself as she grew up past her childhood days. Her imagination had no bounds and served as the main root for the connection she formed with nature and her love for the world and the people around her. This gave her a strong sense of belonging in the world and showed Ailyn her true roots to the world she now lived in.

Even so, her early days were not always filled with playing outside, adventures, and joy. The economic struggle she and her family faced along with her day to day struggles took a toll on her drastically speeding up her growth as a human being. In no time she went from child to adult. Her mother had eventually remarried and at the age of 6, Ailyn had experienced domestic violence by her stepfather, to her and her mother. In order to escape certain realities that plagued her life and she did not yet understand, she would find herself isolating herself, closing her eyes, and dreaming in order to transcend to a happier reality, one where she did not find herself subject to physical, psychological, emotional, and patrimonial violence.

Her mother eventually fled these unfortunate circumstances with her and went on to live in San José, Costa Rica. In this new chapter of Aylin’s life, she would discover that the events that transpired throughout the early years of her life would incite in her a sense for the realities that women in Costa Rica, not just from economically challenged backgrounds, faced and dealt with on a day to day basis. This would eventually lead to her drive in advocating for women’s rights and develop her dream of reshaping society to create a better environment, and an overall better world, for women who have been marked by dark pasts of the patriarchal world they live in. Thus, her desire to become a master in gender studies was born and Ailyn had finally discovered what she would dedicate herself to for the rest of her life.

Career
Ailyn decided to pursue theatrical arts without even knowing that this decision would both figuratively and literally save her life. She began the pursuit of this career as an actress in the early 2000’s. She debuted as a screenwriter in a television program by the name of “La Pensión”. In 2002 she continued on to become a playwright with the intention of exposing situations and current circumstances that seemed to be put off and rarely debated within her country, particularly centered around female genocide, and female abuse, domestically, statewide, and nationally. She wanted to inform society of these issues and how it affected her nation’s development and overall progress. In order to make her work public and reach a vast public audience she would have to bring these into the public eye herself by taking the risk of receiving public backlash due to the gravity of the themes and ideologies her work tackles.

The main themes found in her work focused on beauty stereotypes, superficialities of different methods of communication, the female prose and feminist views on the patriarchal world, and overall serious issues that were in grave need to form topic of discussion for the social, political, and governmental atmosphere of the nation and Latin America. She later went on touring in 2003 after creating “Qué lindas que son las ticas pero solo las lindas” bringing the play to life in different workshops and theatrical presentations throughout Costa Rica. She found that her work was extensively impacting her society, the people of Costa Rica, and even those in neighboring countries of Central America. The positive impact she was having on people from all backgrounds made way for her to develop a method of theater where she could employ investigating and developing certain plays and written works centered aorund feminist views and women’s rights even directly dealing with bringing women to power and inciting social change within the patriarchal society she had been scared by.

She dedicated herself to workshops on women’s empowerment educating and revising individuals in what it truly meant to be masculine, debunking the toxicity of what the concept meant and what “machismo” meant for all men in society. Her workshops, plays, and many other creations have been presented all over Central America and have successfully presented messages to each individual society that change is necessary for progress and that by employing equal rights and practicing proper social behavior, this change can be achieved. She has gone as far as to present not only in different countries of Latin America and Central America, but in parts of Europe as well, showcasing her work in various capital cities of the world.

Since then, she has worked utilizing the arts, specifically the theatrical arts, as a tool to contribute to and help society progress. Contributing through a social practice of educating people in human right, socio-emotional studies, gendered studies, and female empowerment she has left an undeniable mark in Costa Rican society and as a Latin American feminist in the world. Even though she is not a philosopher by profession, she is a natural born activist and driver of change for society that has had her works and accomplishments highlighted and brought to the public eye in different newspaper publications, international magazines, websites, and been widely renowned in the theatrical and activist community. Her works have been recognized as true pieces of art when it comes to women’s rights and deconstructing societal issues leaving nothing said, and undone. The quality of her work has become the embodiment of anything she produces and creates, Ailyn has made herself a master in her field of profession.

Theatrical Plays
2020 - “Este ahora que viene de antes”, Unpublished.

2019 - “El mar corre descalzo”, Unpublished.

2018 - “Último Round” (Co-authored with Estefan Esquivel) Winning project of CPAC, in developing theatrical play. Debuted in the “Festival Nacional de las Artes”, C.R 2019).

2016 - “Me Quejo”,  Stand up comedy on environmental issues. Winning project in “PROARTES”.

2014 - “Segundo Cuerpo”, Director: Erika Rojas. Debuted and presented in Costa Rica and the “Festival Universitario de Artes Escénicas” of the “Universidad Autónoma de Nuevo León” in Mexico, from september 21 to September 27, 2014.

2012 - “Alas de papel”,  Aimed at pre-adolescents and adolescents with the intention to educate in socio-emotional abilities.

2012 - “Dicen las paredes” (2006). Declared winner in the “Concurso Escena Viva” 2012. Co-directed by Ailyn Morera and Edward Morgan. Teatro 1887 C.R. Play presented in Mexico and the Dominican Republic.

2010 - “Vacio”, (Co-authored by Roxana Ávila) Awarded the “Premio de Villanueva de la crítica cubana” in 2012. Centered around maternity and its psychological effects. Directed by Roxana Ávila. Presented in Costa Rica at the “Festival de Cádiz” in Spain and Brazil.

2010 - “Las Princesas azules”, Deconstructed adaptation of traditional stories on gender perspectives. Presented in Colombia, Honduras, Guatemala, and El Salvador. Was translated to english by the Latin American Studies Department at the University of Connecticut, U.S.

2009 -  “Madonna en concierto o el festival de órganos”,  Monologue. Theme centered around human trafficking and prostituion. Presented in Mexico, El Salvador, Cuba, and Colombia. Won the “Popularidad del Festival Latinoamericano del Monólogo” award in Cienfuegos, Cuba, 2019.

2008 - “El laberinto de las mariposas”, Theatrical documentary, Resulted as an adaptation and personal creation from the book; “Mujeres: Metamorfosis del efecto mariposa” by María Suárez Toro. Debuted in “XI Foro El poder de los movimientos de la Asociación de Mujeres para el Desarrollo” (AWID) in Cabo, South Africa. Presented in Costa Rica, Mexico, Guatemala, Nicaragua, Panama, and El Salvador. Was translated to english by the Latin American Studies Department at the University of Connecticut, U.S.

2007 - “FOLIE `A DEUX”, from Natacha and Lobo. Vargas Calvo Theater. Directed by David Korish. Was translated to english by the Latin American Studies Department at the University of Connecticut, U.S.

2006 - “Dicen las paredes”, Giratablas Theater. Directed by María Bonilla.

2003 - “Qué lindas que son las ticas...pero solo las lindas”, Presented at University of Flagstaff, Arizona, U.S. (2006 & 2010).

Date not found - “Una Flor en el Ojal”, Theme is centered in women’s participation in Costa Rican politics. Produced by the Women’s Parliament, “Parlamento de Mujeres”.

2002 - “Murmurio”, Unpublished

References/Notes and references
http://fundacionjyg.org/susurro-de-las-victimas/

https://si.cultura.cr/personas/ailyn-morera.html

http://www.casadelasamericas.org/publicaciones/revistaconjunto/139/morera.htm

https://accionsocial.ucr.ac.cr/noticias/un-segundo-cuerpo-representara-al-pais-en-mexico

http://www.thecupcakemagazine.com/2014/08/segundo-cuerpo-viajara-a-mexico-para-representar-al-pais/

https://www.nacion.com/viva/cultura/italic-dicen-las-paredes-italic-muestra-la-impunidad-que-se-vive-cada-dia/V34KSYJQAZACTOHU3SFKGPOTJE/story/

http://www.redcultura.com/php/agenda_SJO_detalle.php/?id_agenda=13445

http://www.thecupcakemagazine.com/2014/08/segundo-cuerpo-viajara-a-mexico-para-representar-al-pais/

http://www.fitdecadiz.org/obra/vacio

Contributors
Author/Translation: Alejandro G. Dávila-Hurtado

Digital Structure: Angel Estrada